Jeunes Etoiles II

Willard Carter, Cello
Gstaad String Academy 2019 & 2021
Gabriel Bianco, Guitar

Luigi Boccherini (1743-1805)
Cello Sonata No. 6 in A Major, G. 4 (originally for cello and basso continuo)
Poem

Carl Maria von Weber (1786-1826)
Adagio & Rondo, J. 115 (originally for cello and piano)

Joseph Dall’Abaco (1710-1805)
Capriccio for Solo Cello No. 1

Sofia Gubaidulina (1931)
Study (or Prelude) for Solo Cello No. 4 “ricochet”

Joseph Dall’Abaco (1710-1805)
Capriccio for Solo Cello No. 3
Poem

Sofia Gubaidulina (1931)
Study (or Prelude) for Solo Cello No. 3 “con sordino – senza sordino”

Joseph Dall’Abaco (1710-1805)
Capriccio for Solo Cello No. 6

Sofia Gubaidulina (1931)
Study (or Prelude) for Solo Cello No. 7 “al taco – da punta d’arco”

Joseph Dall’Abaco (1710-1805)
Capriccio for Solo Cello No. 8

Sofia Gubaidulina (1931)
Study (or Prelude) for Solo Cello No. 9 “pizzicato – arco”

Niccolò Paganini (1782-1840)
Cantabile in D Major, Op. 17, MS 109 (originally for cello and piano)
Poem

Astor Piazzolla (1921-1992)
“Night Club 1960” from “Histoire du Tango” (originally for flute and guitar)

This concert will be recorded live on 22 July in the Gstaad Chapel and broadcast on 324 July, 7.30 pm.

He made his name by taking part in the 2019 Gstaad String Academy. Fulfilled as much by Ivan Monighetti’s classes (who is also his professor in Madrid within a chair financed by patron Aline Foriel-Destezet) as by the exceptional study environment – “ten days that will remain engraved in my memory!” – Willard Carter is back two years later with a bonus, playing with the students of the Gstaad Conducting Academy in their work on Elgar’s Cello Concerto. In 2023, the Briton is being offered his first “real” recital, adding his name to the long list of artists that Gstaad Menuhin Festival & Academy supports in the development of their careers, in keeping with the spirit of its founder. With a programme that already expresses the maturity of his artistic personality, a dialogue between styles and periods – from the Caprices of the Italian baroque Dall’Abaco to the contemporary Preludes of Sofia Gubaidulina –, between the strings of the cello as well as those of the guitar.